Slant Magazine's Scores

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For 7,772 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mulholland Dr.
Lowest review score: 0 Jojo Rabbit
Score distribution:
  1. Positive: 4,346 out of 7772
  2. Mixed: 1,493 out of 7772
  3. Negative: 1,933 out of 7772
7772 movie reviews
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  1. Columbus
    The seeming miracle of Columbus is its mixture of formal precision with a philosophical grasp of human mystery.
  2. Good Time
    The Safdies play with time like it’s an accordion, stretching out notes of bliss and anxiety while compressing the daily lives of their characters in order to convey the constant state of hustle and stresses necessitated by being poor and hungry for drugs, cash, or a bite to eat in New York City.
  3. Wind River
    When Taylor Sheridan is left to his own devices, his work seems more abrupt and shallow, no more so than when he resolves all of this film's lingering questions in one unremittingly nasty sideswipe of a flashback.
  4. Detroit
    Kathryn Bigelow hyper-realistically, almost dispassionately, covers her ensemble’s actions in the manner of a somber disaster film.
  5. Strange Weather
    There’s a tough and mysterious film within Strange Weather, though it doesn’t quite escape the strictures of a busy and studiously weird narrative that’s governed by formula screenwriting.
  6. Atomic Blonde
    The tediously forestalled twists suck away time from what should be the film's focus—its action—and leaves only two scenes worthy of celebration.
  7. The Last Face
    The Last Face's shameful exploitation of Africans doesn’t stop with the mere privileging of its two wealthy white doctors and their trivial personal struggles within the narrative.
  8. The Incredible Jessica James
    Throughout the film, one wishes for a bit more depth regarding Jessica's professional struggles.
  9. I Dream in Another Language
    Just as the director seems to be settling in to tackle some heady ideas, the screenplay’s stale narrative complications instead overtake the film.
  10. From the Land of the Moon
    The film is so humorless and in love with its own obviousness that it grows laughable.
  11. Brigsby Bear
    The film has such a goofy sense of humor and affection for its premise that its uneven narrative is sometimes only as frustrating as a little static on an old VHS.
  12. Rumble: The Indians Who Rocked The World
    This is history that Americans should know, and the filmmaker approach Rumble as an introductory survey course.
  13. Escapes
    A preoccupation with the totemic materiality of cinema runs through Michael Almereyda’s documentary.
  14. Girls Trip
    Malcolm D. Lee's film at least it goes down easy. Easy like a Sunday-morning hangover.
  15. First Kill
    Lacking any vibrancy, wit, or formal rigor, First Kill is not only as bland and leaden as its über-generic title suggests, it's downright sloppy to boot.
  16. Mister Universo
    The film eventually replaces the captivating smallness of everyday life with an inconsequential drama.
  17. The Girl Without Hands
    The film creates a deeply rooted sense of realism that contrasts the austere, surreal illustrations.
  18. The Midwife
    If not for its performances, the film would belong in the category of Hallmark Channel tearjerkers.
  19. Dunkirk
    In devoting so much time to the dull, counterproductive mechanics of the action assembly, Dunkirk dispenses with nearly all other elements of drama.
  20. Our Beloved Month of August
    Gomes contemplates the many human dimensions wavering under the surface of this town, whether it’s the mythologies crowding a town’s gossip session or the tall tales flooding rants at a local bar. This is a collective voice of character rather than a dry document of reality.
  21. Valerian and the City of a Thousand Planets
    The difference between the film and its equally expensive contemporaries is Luc Besson's playful, childlike naïveté.
  22. Landline
    Heroin is to Landline what abortion is to Robespierre's Obvious Child: a dangerous little variable planted to strategically unsettle the pervading cutesiness.
  23. The Untamed
    Each brief glimpse of the creature’s fleshy, slithering mass imbues the character drama with an aching sexual desire and, as the violent potential of the entity becomes clear, a mounting sense of dread.
  24. Amnesia
    Amnesia ultimately delivers rich insights about its main characters’ relationship to their backgrounds.
  25. Wish Upon
    The only wish that ends up satisfyingly granted is, in Wish Upon's final and utterly predictable tableau, the audience's.
  26. To the Bone
    One of the film’s great qualities is its casualness and willingness to be simply human and to not let sociological politics dominate.
  27. The Wrong Light
    The divide between meaningful journalism and ethical filmmaking seldom seems as wide as it does in The Wrong Light.
  28. The Persian Connection
    Daniel Y-Li Grove adeptly creates an icy, über-hip atmosphere of sleek clubs, pulsating synths, and woozy opium trips, a style which has the unfortunate effect of draining much of the cultural specificity from his story.
  29. Footnotes
    The ending cheapens its main character and weakens the film's firm commitment to the importance of workplace organizing.
  30. False Confessions
    The film is a trim farce with no blood flowing under its skin, as it’s all construction, setup, and payoff.
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